2018, Vol., No.61

The Formational Context of Spectatorship and The Habitus of Community for The Interpretation – Mainly about the Representational Meaning of the Gohaksaeng Appeared in Performing of Kim Youngilui Sa

Lee Kwang ouk | 2018, (61) | pp.15~64 | number of Cited : 11

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The performance of the student traveling theater companies have a meaning in the point that actualizing the aspect of the Shingeuk which arise from the argument between Sinpageuk and Shingeuk. Especially, Kim Youngilui Sa (The Death of Kim Youngil), repertoire of the Dongwoohoe traveling theater company, is the Work provides An interesting example. Because, it succeed in guiding a enthusiastic response, despite the many flaws as modern drama text. To understand this, I think reconstruction of the spectatorship in early 1920`s is necessary, and try to focus on the driving force behind the attraction of the theater, and the cultural planning had supported that. The amateur theater company in early 1920's had many cases of staging about the life of the producer itself. The student theater company performed many of the plays focused on life of the Gohaksaeng. And The death of Kim Youngil which actively placed the motif of Gohaksaeng, is a representative work of that tendency. It should be noted that this form of confession was accepted as real story that the people of the colonized Chosun were actually going through, and This could have been a powerful reality. Moreover the spectator were not just looking into other people's lives, but accept the story of Gohaksaeng as a community issue that is directly connected to themselves. Gohaksaeng was portrayed as those who needed to take care of, such as their family members, and the support for them was quickly recognized as a duty of colonial Chosun. Therefore, the death of an innocent Gohaksaeng could give the spectator a strong sense of tragic feelings as it was identified as ‘the loss of Chosun's future’. The effect of such discourse is similar in the case of the popular supports for the Kyeongseongakdea, succeeded royal military band, being represented as a group that promotes the history of the fall of a nation. However, the process of forming a spectatorship in the early 1920s will need to be read in a more layered manner. The spectator is the one who completes the meaning of the performance, but at the same time it is also influenced by the field of a regular discourse. What can not be overlooked is that the spectator's reaction of the student traveling theater company, which is checkable today, is the result of journalism at that time, and the description process is likely to involve an image of a ‘implied spectator’ designed by the producer's cultural plan. On the other hand, the expected horizon of the theater that the spectator have in mind goes through a process of reorienting and strengthening through positive experiences in the actual performance. Therefore, while it is difficult to view the spectator as being completely autonomous, there is also the need to leave a certain area of autonomy behind. What is important is thick description for the actual process of adjusting the spectatorship, taking into account its temporal and spatial specificity. With this in mind, I try to the review the context surrounding Kim Youngilui Sa, and reconstruct the habitus of the community for interpretation.

A Study on the Performance Activities by ‘Kim Jaejong Ilhang,’ the Professional Gugeuk Troupe in the 1910s

Baek Doosan | 2018, (61) | pp.67~103 | number of Cited : 5

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The repertoires and performances of Changgeuk in the 1910s changed after the appearance of professional Gugeuk troupes such as the ‘Kim Jaejong Ilhang.’ By focusing on the performance records of the ‘Kim Jaejong Ilhang’ from 1913 to 1915, this study examined the management of and specialization in Gugeuk troupes under the variety show system, as well as the various aspects and implications of Changgeuk performances, which gathered attention among the activities of Gugeuk troupes. Kim Jaejong was the leader and showman from a non-artistic background who was affiliated with Gisaeng groups. The ‘Kim Jaejong Ilhang’ focused on road tours held performances at Danseongsa and Gwangmudae from 1913 to 1915 in January and around the Dano holidays. Records on rent, canceled performances and renting stage props by the ‘Kim Jaejong Ilhang’ is an important source which shows the rental system and periods of public theaters run by the Joseon people in the 1910s, the issues concerning the performance rights of performers during the renting period and how the preparation for performances were specialized. Overall, the records reflect how the performances and systems have progressed when compared to the previous era. Thus, thanks to the efforts of Kim Jaejong, who served as a professional leader and showman of the troupe, on the management of the troupe and its repertoire, the ‘Kim Jaejong Ilhang’ succeeded in becoming a leading Gugeuk troupe in the mid-1910s. The ‘Kim Jaejong Ilhang,’ which performed different repertoires every night, characterized itself with the reformed Gisaeng songs and dances and the non-pansori Changgeuk performances such as the <Yeongnamnu> in the process of acquiring new performance repertoires. This paper examined <Yeongnamnu> and <Samsaenggiyeon>, which were overseen by the master singer Sim Jungsun, to find whether the two Gugeuk performances were organized as Changgeuk and to check whether they were performed as Changgeuk, based on the records on the usage of stage props by the ‘Kim Jaejong Ilhang.’ <Yeongnamnu>, a based on the legend of Arang, and <Samsanggiyeon>, which is a dramatization of a classic novel, could be presumed to have been performances that used folk songs as the main melody and used various instruments on stage. Such types of performances would have benefited traveling troupes such as the ‘Kim Jaejong Ilhang,’ which experienced difficulties in finding Pansori actors. Non-pansori Changgeuk such as <Yeongnamnu> contributed to expanding the base of original Changgeuk in the 1910s and began to be performed by other Gugeuk troupes in the mid-1910s and even in public exhibitions in 1915. The activities of the ‘Kim Jaejong ilhang’ serve as valuable data on the performance activities and troupe management of gugeuk troupes in the 1910s. The ‘Kim Jaejong Ilhang’ has further value as a troupe which diversified the Changgeuk repertoires and contributed to the process of Changgeuk transforming into popular musical plays.

Reconsidering the Intertextuality of Muidogihaeng – Viewed from the Relationship with The Good Hope

KIM Moran | 2018, (61) | pp.105~142 | number of Cited : 1

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This paper attempts to give a significance to a newly found fact concerning Ham Sedeok (咸世德)’s Muidogihaeng (舞衣島紀行, 1941), his representative work that had, hitherto, been viewed from the standpoint of the relationship with the Irish dramatist J. M. Synge. What this paper shows as a new finding is that in all likelihood Muidogihaeng was an appropriated, or plagiarized, the work of a Dutch dramatist Herman Heijermans’s drama, Op Hoop Van Zegen (The Good Hope, 1900). In fact, it can be safely said that The Good Hope is the original text of Muidogihaeng because they share the main storyline and some other minor points, which totally updates the nature of the intertextuality seen in Muidogihaeng. The Good Hope, often positively valued as a legacy of the literary movement in naturalistic realism, was translated into Japanese by a leading light in the theater at the time, Kubo Sakaez(久保栄), in 1928 (under the title of Tenyumaru) and in 1930’s it was picked up often as an important play by many modern Japanese theatrical companies. After revealing the nature of The Good Hope as the original text of Muidogihaeng, the paper locates The Good Hope in the Shingeki movement. Then, it focuses on the two pieces of work derived from the Good hope: one is Gyomin (漁民, 1931), which is a drama concerning Japanese fishermen written by Kubo, and the other is Muidogihaeng, which is a drama concerning Korean fishermen written by Ham. Detailed comparison of these Japanese and Korean descendants of The Good Hope will illuminate the characteristics of Muidogihaeng which cannot be found in the original text (The Good Hope) or its Japanese counterpart (Gyomin). Former studies have argued that Muidogihaeng is original and creative because, different from the works of J. M. Synge that seeks the Irishness in the ahistorical spaces, it takes up not only nature but also the social and industrial structure as causes of fishermen’s predicament. To this very point this paper will make objection. Seen in the relationship with The Good Hope, Muidogihaeng, as a whole, less emphasizes the opposition to fishery capital; rather, it is a drama reorganized to highlight the tragedy of a mother who lost her loving son.

The Study on Yoo Chijin's Training for American Theater by the Rockefeller Foundation Fellowship

Kim, Jae Suk | 2018, (61) | pp.143~187 | number of Cited : 15

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This paper is aimed at reconstructing Yoo Chijin's training for American theater and examining its effects on his theatrical activities. In 1956 he was selected as the Rockefeller Foundation's fellowship and went to America in June. Since then he had been training for about 8 and half months in America and visited European and East Asian theatrical circles for 4 months. Yoo Chijin's memoirs including Dongrang Jaseojeon (Dongrang Autobiography) explained that he went to America accidentally but the training was planned by Charles Burton Faths's push combined with Yoo Chijin's effort. When Charles Burton Faths met Yoo Chijin for the first time in 1948, he judged that Yoo Chijin was the right man who could pursue theater education and community theatre. After that for 8 years Faths had pushed Yoo Chijin by giving him related books and theatrical informations and demanded that he should improve his English ability. Yoo Chijin who withdrew from National Theater representative and needed a breakthrough had a strong will. He had made constant efforts to satisfy Faths's standard and finally he was selected as a fellowship. Yoo Chijin's Training in America consisted of a great deal of content and conducted effectively by the Rockefeller Foundation's active management. After language study, the training had been conducted with two goals. First goal was to collect materials on curricula managed by departments of theater in American universities and various theater schools and to visit them. Second one was to visit representative community theatres and to grasp the current situations. During this training, Yoo Chijin met first rate American theatrical people and could look around representative community theatres, so his confidence in America more deepened. Through American training Yoo Chijin shaped the direction of hid theatrical activities, which could be summarized in two ways. First he clarified the self awareness as a playwright representing Anti-Communist theater and tried to raise playwright's status by publishing English translation collection of his works. Second he shaped up the goal to found a theater in seoul through his understanding the way to manage a theater by the support of public institutions, visiting representative community theatres. After coming home, he tried to practice the awareness established in American training. Hangangeun Heureunda is the work of his will to continue a role of anti-communism playwright. His goal to establish a community theater was connected with constructing new theater. In this sense, the August of 1958 should be recorded as the time when Yoo Chinjin's theatre activities started in a new direction.

A Consideration on the Indigenization of Licensed Musicals ― Focused on the Case of Czech Musicals

Seungyoun Choi | 2018, (61) | pp.189~234 | number of Cited : 3

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This paper began to examine the aspect that Czech musical The Three Musketeers and Jack the Ripper surpassing the original not being verified, sometimes referred to as successful models of the Korean Wave. It was necessary to check internal and external situations where the re-created version after “Korean adaptation” or “Korean transformation” was far superior. The results of the discussion are as follows. First, adaptations from event-oriented to person-oriented played a key role in indigenization. The Three Musketeers combines the original novel with Dix Ans plus tard ou le Vicomte de Bragelonne to dramatically simplify the incident and expand the story of the character individually. Jack the Ripper created a character named Daniel based on the science fiction character, “Crazy scientist,” which was noted during the Victorian era, and reformed Daniel in the typical frame. In the same vein, the tragic life of Daniel’s lover Gloria was also treated with weight, which made Daniel’s monstrosity even more prominent. Second, communication between the stage and the audience has changed at the fundamental level. If the Czech original version created a “transition” layer between reality and dramatic reality to communicate between the stage and the audience, the licensed version elicited an immediate and direct response from the audience with the elements of Kitsch and show. All these factors also allowed us to consider the fundamental changes in subject and stage aesthetics. The Czech original version focuses on an individual and contradictory world, while the licensed version aims for an ideal and orderly cosmos. Eroticism and grotesque were used as stage aesthetics to reveal the orientation of original version, and licensed versions enhance entertainment and lower the level of eroticism and grotesque. The guilt of men who failed to protect women was the basis for a world of ideal and orderly that the right and “faithful” women and ideal men could live in that world. Therefore, it is appropriate to change the licensed version’s assessment of Korean adaptation. That is the reflection of the physiology and sentiments of the local musical market and the adaptation of flattened pop culture text.

A Study of Shim Hun’s Film Scenario

Oh, Young-mi | 2018, (61) | pp.235~269 | number of Cited : 0

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The purpose of this paper was to examine the South Korean screenwriter Shim Hun’s world of scenarios as part of a study on South Korean screenwriters. To date, studies on Shim Hun have largely focused on his aspect as a novelist and his life story. Because he has more commonly been known as the writer of the novel <Sangnoksu> more in-depth studies and their accumulation are necessary in view of his life’s legacy and the value of his remaining works in the country’s film history. Although some studies that paid attention to his scenarios achieved their own fruition, they focused on either researching his narratives and subjects within the correlations of literature and films or identifying the meaning of cine-novels in terms of their origin. Therefore, this study intended to connect his biographical records and the transition process of his works, which inevitably become more important in the absence of films or other records from the era of Shim Hun, and to focus on the coherent characteristics that encompass his overall scenarios. From this viewpoint, this study also included the review of <Daegyeongseong Gwangsangok>, which the other studies have not dealt with thus far, although this scenario is incomplete. The results of the present study showed that Shim Hun, who mainly recognized the popularity of films, enjoyed using the triangular dynamics of characters in his scenarios. Here, the study could not only understand his awareness of popularity, but also trace his positions about the reality of the country under colonial rule and the transition process of his works after he retired into the countryside. In addition, he may have been influenced by his mentor Minoru Murata during the period when he experienced Japan’s film world. As shown in his film reviews, he took notice of expressive films, and the patterns of how his such recognition were revealed in his scenarios were analyzed in this study. In addition, although <Sangnoksu> is the scenario for a silent film, it was written at the time when sound films emerged in South Korea, and thus the traces of his pursuit for sound films were observed in the scenario. Based on the results of discussions in this study, Shim Hun’s position in the country’s history of scenarios can be identified as follows: As a leading intellectual in the initial stage of South Korean films, he could be named as the country’s frist professional cine-novel and scenario writer. He was influenced by the West’s expressive films via Japan, and the characteristics of his creation included his national awareness of the country’s reality as a colony and the transitional traces of sound films in his works during his life in the silent-film era.

A Study on the Aspect of Visual Psychopathological Embodiment Appearing in Fantasy ― Mainly on the basis of TV drama <Jugunui Taeyang>

Kim Min yeong | 2018, (61) | pp.271~301 | number of Cited : 2

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The Male Main Characters with Supernatural Power and The Expansion of Melodrama Characters ― Based on Television-drama <Neoui Moksoriga Deulryeo> & <Byeoleseo On Geudae>

Kyungseon Baek | 2018, (61) | pp.303~331 | number of Cited : 9

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Expanding and Rethinking “Motherhood” ― Focused on the TV Drama <Mother>

Kim, Mi- Ra | 2018, (61) | pp.333~368 | number of Cited : 14

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In the patriarchal society, the media has predominantly depicted motherhood as a feminine instinct and an absolute value, and that the ideal mother is a woman who sacrifices her own aspirations in society to nurture and provide emotional stability to her children and husband. In addition, females who have not conformed to the “normal family” structure defined by the patriarchy, such as single mothers, divorcees, and women who have refused child birth and child rearing, are portrayed as lacking “femininity.” This ideology has prevented women from entering the workforce and placed the responsibility of childcare solely on to women, resulting in the exclusion of women from distribution of social resources. However, with recent changes in traditional family structures and more women entering the workforce, it has become necessary to redefine the traditional meaning of “motherhood” in line with societal changes. Against this backdrop, this study employed narrative analysis to find answers on the definition of motherhood, focusing on the critically acclaimed TV drama series <Mother>, which uses the issue of child abuse to depict wholly different “acts of motherhood.” <Mother> has illustrated motherhood that transcends the traditional definition by portraying different types of mothers that includes non blood relations, including a single woman who becomes a mother after she rescues and adopts a child endangered by abuse from her mother and live-in boyfriend, and a woman who adopts three girls and raises them as her own. In addition, the drama series did not employ a binary depiction of “good mother” and “bad mother” but focused on the realities and suffering of female characters, such as a mother who becomes a murderer due to her husband’s abuse and is forced to relinquish care of her child, and a woman who becomes a mother at a young age only to be abandoned by the father of her child then meets another man who abuses her daughter which she ignores due to fear of being abandoned again. The drama also challenges the traditional myth of “motherhood” that obligates the mother to sacrifice herself unconditionally. Moreover, the strong solidarity of mothers depicted in the single mom who rescues and adopts an eight year old child in danger and the women who support her, expanded the narrow definition of “motherhood”, which had been limited to family, and includes nurture, care, and relationship. This has opened the possibility of redefining the meaning of motherhood and a “motherhood” consensus around the current social issues on child abuse and low birth rates.

Formation of Comic Sensibility, Spectatorship, and South Korean Comedy Cinema as a Genre

이수현 | 2018, (61) | pp.371~381 | number of Cited : 0

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Herman Heijermans’s Drama, Op Hoop Van Zegen(The Good Hope)

Kim Mo ran | 2018, (61) | pp.385~487 | number of Cited : 0

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KJCKorea
Journal Central

The Journal of Korean drama and theatre 2023 KCI Impact Factor : 0.77

2018, Vol., No.61